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Intabolatura de Lauto, Libro primo, Antonio Gardane, in Venetia 1546
The Intabolatura de Lauto is the only extant work by Marc'Antonio del Pifaro. The "Venetian" dances contained in the book are characteristic of a repertoire whose circulation began in the early years of the 16th century, with the publication, by Petrucci, of Joan Ambrosio Dalza's Libro Quarto.
Most of the pieces consist of a chiarenzana coupled with a saltarello, and their titles refer to a geographical origin (Bolognese, Cremonese, l'Aquila), a structural or thematic characteristic (Geometrina, la Battaglia), or a dedication (G.Stampa).
The chiaranzana or chiarenzana is a courtly dance, similar in harmonic and metric structure to the better-known pass'e mezzo, and is habitually followed by a saltarello.
The scant biographical information we have comes mainly from Luca Aurico's Tractatus Astrologicus, published in Venice in 1552, which contains the natal charts of the lutenists active at the Court of Rome. Gaurico's testimony, which establishes Marc'Antonio's date of birth in March 1504, refers to the quality of his singing, accompanied by the lute, as "clarissimum, praecipue in fidibus canoris pulsandis ".
The names of Marc’Antonio and his pupil Alessandro figure among the lutenists present in Rome, as attested by the papal registers of payment (cf. Alison Sanders McFarland, Papal Singers, the Musica Segreta, and A Woman Musician at the Papal Court: the View from the Private Treasury of Paul III).
The date of his death is not documented.
Sandro Volta | Le Luth Doré ©2015
Chiarenzana de Megio
Il suo saltarello
Chiarenzana La Geometrina
Saltarello de La Geometrina
Chiarenzana La Ciriolla
Chiarenzana il Girotto
Il suo saltarello
Chiarenzana La Bataglia
Chiarenzana G. Stampa
Saltarello de la Stampa
Saltarello (Il) Bel Fiore
Chiarenzana la Malveza
Saltarello La Ciriola
Saltarello (Il) Bianchetto
Chiarenzana Laquila (Chiarenzana L’Aquila)
Saltarello Laquila (Saltarello L’Aquila)
Chiarenzana La Bolognese
Saltarello non ti partir da me
Chiarenzana La Marsilia
Saltarello Il Marsilio
Chiarenzana La Madalena
Saltarello anconitano (Saltarello l’Anconitano)
Chiarenzana La Lambertina
Saltarello Il Cremonese
Chiarenzana Il est bel et bon
The Italian lutenist, conductor and musicologist Sandro Volta began his international concert career in the early 1980s. His performances mainly centre around the Italian Renaissance Baroque repertoire, and his discography comprises works by composers such as Simone Molinaro, Giovanni Battista Dalla Gostena, Giulio Caccini, Sigismondo d’India, Ludovico Roncalli, Claudio Monteverdi, Giovanni Girolamo Kapsberger, Marco Antonio Cesti, Antonio Vivaldi, Antonio Maria Bononcini, Robert de Visée, Nicolò Paganini, Mauro Giuliani , Girolamo Crescentini.
He has recorded for the labels Arion France, Tactus, Dynamic and Brilliant Classics.
A winner of various prizes, including the Grand Prix Du Disque in Paris (1994), Volta has been lauded by numerous magazines for the originality of his interpretations (Le Monde de la Musique, Diapason Hors-Série, The New York Times, Early Music). His publications include L’Opera in CD e video (ed. Saggiatore) and articles on Baroque music, including ones for Grove, “I Musicisti e la Lyrica di Gabriello Chiabrera”.
His performances are regularly aired by major broadcasters (ABC, BBC and Radio France). Volta has been artistic and musical director of various Italian theatres such as Teatro Ruggeri of Guastalla, Teatro Moruzzi of Noceto (Parma), Teatro Chiabrera of Savona (Youth Symphony Orchestra) and the Teatro Dovizi of Bibbiena. Current projects include recording the complete works of Marco Dall’Aquila, undertaking a thorough research of lute ms. tablatures, and the Petrucci lute tablatures.
Sandro Volta writing a monograph about John Dowland ”Passionate and Dolens” for Guitart magazine, with a “live performance” on cd enclosed, a study and transcription of Intermezzo “Zamberlucco e Palandrana” (Bologna ms.) by Alessandro Scarlatti (Viator Edition,Milano), ”Astetik un Klang”, for the Geigenbaumuseum Mittenwald (LF Editions, Modena).
As a musician and lutenist, Richard Civiol has chosen as his life's work the study of the lute and theorbp. These instruments have basically disappeared from our contemporary orchestras while growing in visibility in smaller ensembles and solo performances thanks in part to his efforts.
He participates with the same enthusiasm and expertise in the renaissance and baroque repertory of all the different instruments of the lute family as well as the practice of basso continuo.
Civiol is a member of the ensemble "Les Musiciens des Mademoiselle de Guise" directed by Laurence Pottier, and they have performed both in France and abroad. They have also done several CDs together. Civiol is a member of the music ensemble "L'Oiseliere", and has collaborated with other ensembles, orchestras or chorales including"La Fabrique a Theatre", the chamber choir "Les Temperaments", and has worked with Jean-Francois Fremont, Didier Bouture, Christophe Sam and Romain Champion.
Civiol is the holder of the Premier Prix in musical composition (in Paris, France?).
Finally, Civiol is engaged in a large project of copying and restoring music for the lute, theorbo and vihuela.
• Editor(s): Sandro Volta & Richard Civiol
• Music period: Renaissance
• Instrument(s): 6c Renaissance lute
• Instrumentation: Renaissance lute solo
• Notation: Italian and French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2016
• Collection: Lute and Theorbo Music Collection
• Pages: pp. 88
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8807-4
Le Luth Doré Urtext Editions
The Le Luth Doré Urtext Editions offer musicians and musicologists worldwide reliable and authoritative musical texts. The main features are:
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About Le Luth Doré Urtext Editions
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The most important observations and editorial decisions are elucidated in the prefaces, in the critical commentary, in footnotes, or marked as such in the musical text. It therefore comes as no surprise that an editor has to invest a great deal of patience, knowledge and time when piecing together an urtext that is true to the source and, hopefully, to the composers’ intentions as well. Proven specialists with extensive knowledge and experience edit our Le Luth Doré Urtext Editions in close cooperation with our Editorial Department.
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Le Luth Doré ©2015